Adam Faith | The Independent Sixties pop singer turned actor Monday 10 March 2003 00:00 BST Click to follow The Independent Online Terence Nelhams (Adam Faith), singer and actor: born London 23 June 1940: married 1967 Jackie Irving (one daughter, and one son deceased); died Stoke-on-Trent, Staffordshire 8 March 2003. Adam Faith came to fame in the early Sixties with a succession of pop hits including "What Do You Want" and "Poor Me" and later became well-known as an actor. He created the television characters of Budgie (in the series of the same name) and Frank Carver (in Love Hurts) and was also noted for several stage roles, notably in the Eighties revival of Alfie. However, when he published an autobiography, Acts of Faith, in 1996, it was more about his personal life than his achievements. "There's a grave danger that you will boast your head off when you write an autobiography," he said, "and I didn't want to do that.

Anyway, if I had gone through everything in detail, I would have been writing four or five volumes." Faith's life was extraordinary from the very start. He was born Terence Nelhams under a kitchen table in Acton during an air raid over London in 1940. His father, Alf Nelhams, was a coach driver; his mother was Alf's strong-willed partner, Ellen Wright. As a teenager Terry Nelhams supplemented the family income with a paper round and helped his mother clean factories in the evening instead of homework. As long as he could go to the cinema once a week, he was happy. In 1955 he saw James Dean in Rebel Without a Cause. Nelhams started copying Dean's clothes and mannerisms, and he determined to work in cinema. He found employment as a messenger boy for the Rank Organisation and then moved into the cutting rooms. Following the popularity of Lonnie Donegan's "Rock Island Line", some of his workmates formed a skiffle group, the Worried Men. Nelhams was the ideal lead singer and within weeks, they were resident at the Two I's coffee bar in Old Compton Street, Soho.

The Worried Men were featured when the BBC broadcast an edition of the teenage programme Six-Five Special from the Two I's and the show's producer, Jack Good, spotted Nelhams' potential. He suggested that he change his name: Jack Good's wife had just had a baby. He had a book of kids' names and he thought I ought to change mine because Terry Nelhams didn't sound right and, besides, there already was Terry Dene. He tossed me the book and I flicked through it and came to "Faith" in the girls' names and "Adam" at the start of the boys. Faith prepared for his first solo TV appearance by lying in the bath in his jeans so they would be skin-tight. He went down well, but his cover version of Jerry Lee Lewis's "High School Confidential" for HMV demonstrated that he was unsuited to wild rock'n'roll. When the format of Six-Five Special changed, Faith became a resident on the revamped programme, Drumbeat!, performing rock'n'roll with the sullen look of the day.

Johnny Worth, a member of the Raindrops, remembers: Adam had a face that could launch a million records, an amazing face, a most endearing face, and something within me said, "This kid is going to be a star. It doesn't matter that he doesn't sing very well." The show's producer Stewart Morris liked to present Faith with a stern, rocker image, but Worth told Faith to smile at the camera. Worth said: In those days you couldn't edit a television show and Stewart Morris was furious when he was stuck with a smiling Adam Faith singing "Love Is Strange". When Adam did "What Do You Want" on Cool for Cats, he sat on a stool, smiled that wistful smile and went zonk! into the hearts of millions. "What Do You Want", written by Worth and arranged by John Barry, was released by EMI's Parlophone label in November 1959. Pop encyclopedias liken the record to Buddy Holly's "It Doesn't Matter Anymore" but Faith disagreed. My biggest influence was the British singer Roy Young. Roy and I were going to Oxford before I recorded "What Do You Want".

I sang "What Do You Want" to him and he didn't like the way I sang it. He coached me all the way to Oxford and by the time we got there, "baby" had turned into "bay-beh". "What Do You Want (If You Don't Want Money)" was selling 50,000 copies a day and topped the UK charts for three weeks. The team quickly followed it with another No 1, "Poor Me", and a No 2, "Someone Else's Baby". His big-selling first album, Adam, found him struggling to be an all-round entertainer with ill-advised versions of "Summertime" and "Singin' in the Rain". He appeared in a film set in Soho, Beat Girl (1960) although he subsequently called it "a disastrous teenage exploitation movie which bore little or no relation to Soho or the youth it was supposed to represent". The score included an atmospheric Top Ten single, "Made You", with Joe Brown on guitar which was banned by the BBC for its sexual connotations.

Faith showed his dramatic skills as Tommy Towers in Never Let Go (1960) and fans squirmed when a villainous Peter Sellers shut Faith's hand in a car door. In December 1960 and against the advice of his management, Faith appeared on the BBC's interrogative television programme, Face to Face. Faith brilliantly held his own against John Freeman, the show's host, and, in an astonishing revelation for its time, not only admitted to pre-marital sex but said that he enjoyed it. Faith said, Everything got quoted out of context and it prompted the BBC to get Ludovic Kennedy to chair a discussion between myself and the Archbishop of York. The public was surprised that a working-class pop star could talk. Whether I said anything intelligible or not, I don't know. Another reaction was even more surprising: Faith's parents got married so that they would not be an embarrassment to him. Although he was having regular hits, the quality of Faith's records was erratic. His nadir was his 1960 Christmas record, "Lonely Pup (In a Christmas Shop)". Why didn't he just say no?

I could have done and if I had had more confidence in myself as a singer, I would have done. At the time I thought, "Why not, it's going to be a hit." I didn't appreciate the damage a hit can do for you if it is not the right sort of hit. In 1962 Faith copied Eden Kane's hully gully rhythm for the Top Ten single "Don't That Beat All", but he was losing ground. He changed his style, working with a beat group, the Roulettes, and a new songwriter, Chris Andrews, in an attempt to forestall the inevitable decline. "The First Time" and "We Are In Love" are good British beat records and Andrews wrote an entire album for Faith, On The Move (1964). Faith made his best record by covering Burt Bacharach's "Message to Martha" (1964), which became his last Top Twenty hit. Although Faith was a long way from being the best of Britain's rock'n'roll singers, he was easily the best actor amongst them.

His performance alongside Donald Sinden in Mix Me a Person (1961) showed his potential and he had good comic timing supporting Sid James in What a Whopper (1961), although the film is dire. So he went into repertory and learnt his craft. He was supported by the dancer Jackie Irving, whom he married in 1967. In 1968 Faith did well in a touring version of Night Must Fall with Dame Sybil Thorndike. Then his performance on stage in Billy Liar prompted its authors, Keith Waterhouse and Willis Hall, to create a television series for him, Budgie. He played a small-time London crook who lived on his wits but was always outmanoeuvred. Budgie's phrase "Leave it out, Hazel" entered the language, but only 26 episodes were made. In 1973 Faith suffered serious injuries in a car crash. He was told he would be left with a limp but, with typical resolve and much exercise, he regained his normal stance. The psychological effect was more damaging – despite an appearance in the David Essex film Stardust in 1974, he was reluctant to act for some years.

Dave Courtney, who had played drums for Faith, asked him as a favour to look over a contract for a friend, a new artist called Leo Sayer. When Faith heard Sayer's songs, he tore up the contract and said, "Dave, you and I are going to manage this boy. He's too good to give to anybody else." To finance the venture, Faith negotiated a record deal for a comeback album with Warner Brothers. He made I Survive (1974) with just half of his allocated budget and used the remainder to finance Sayer. Courtney and Faith produced Sayer's first hits – "The Show Must Go On" and "One Man Band" – at Roger Daltrey's studio and Daltrey was so impressed that he recorded one of Sayer's songs, "Giving It All Away", which became a Top Ten record, also produced by Faith. Daltrey and Faith were later to act together in McVicar (1980). In 1983 Faith appeared in a revival in Liverpool of Alfie, directed by Alan Parker. He did extremely well, although his character came across as a mixture of Alfie, Budgie and Adam Faith.

When I interviewed him at the time, he was dismissive of his records. Asked to sign a compilation of his hits, he shook his head and said, "Who buys this crap?" He added, "The best British rock'n'roll record was 'Move It!' Do you think I even came close to that?" Faith's life was busy in the early Eighties, as he was presenting the first video review progamme, Video Video, for Channel 4 and also conducting an affair with the tennis star Chrissie Evert which almost wrecked his marriage. In 1986 he had heart surgery for blocked arteries, but recovered quickly and the following year went into a West End musical, Budgie, which had been created for him. Its lyricist Don Black commented, He wasn't really a singer, but then neither was Rex Harrison. Richard Harris speaks his way through Camelot, so you don't have to be a singer to be in a musical. When a musical doesn't work, it doesn't work, and we never got the book right. Faith had always been interested in shares and property, and he started writing financial columns for the Daily Mail and Mail on Sunday.

In one infamous column, he claimed he could make anyone a millionaire in six months. With a financial adviser, Roger Levitt, he formed a company to look after the money of his celebrity friends. Much to Faith's embarrassment, in 1990 Levitt was arrested for fraud. In addition, Faith was hit with debts when the recession hit Lloyd's of London. Ever resilient, from 1991 Faith starred alongside Zoë Wanamaker in the BBC's Love Hurts, which ran for three series. He said, Frank Carver was so romantic that every woman in the country wanted a husband or a boyfriend like him. He was so lovely and I got all the knock-on benefits to that. In the Nineties, he appeared in touring versions of Alfie and A Chorus Line, and, he said I did Alfie for a year on the road and it broke records everywhere. It also changed my relationship with the public. For the first time, they were looking at me as a man instead of a young pop kid who was growing old. I could be 50 and people were still associating me with "What Do You Want".

In 1999 Faith started a digital television station, the Money Channel, but it attracted few viewers. The station closed with debts of £32m and Faith himself was declared bankrupt in 2002. Last year, he appeared in a BBC comedy series, The House That Jack Built, with Gillian Taylforth and at the time of his death was in a touring production of Love and Marriage. Spencer Leigh Adam Faith - Biography - IMDb Adam Faith Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trivia (10) | Personal Quotes (1) Overview (4) 5' 5" (1.65 m) Mini Bio (1) In an interview in "Disc" magazine published in June 1959, following the release of his third (and ultimately unsuccessful) single, Adam Faith declared that his ambition was to become an actor/director--not a singer. Nine years, 35 singles, 24 chart entries, 15 EPs and seven albums later he finally decided to leave the record industry to concentrate fully on fulfilling his thespian dream.

Over the next 34 years Faith was to achieve at least the major part of this long-held ambition by becoming one of Britain's most popular stars of stage and screen. However, during his singing career with EMI, he vied with Cliff Richard as the UK's most popular male singer and pop idol. Adam Faith was born Terry Nelhams in Acton, London, on June 23, 1940, the third of five children. He attended John Perryn secondary modern school in Acton and from the age of 12 was able to demonstrate his entrepreneurial skills by means of a series of paper rounds, which enabled him to finance his own clothes budget. This was augmented further when he started selling papers from a pitch to enable him to pay for more than 100 pounds worth of other "gear", including a record player and an impressive bicycle, both costing around 28 pounds--a large sum indeed by 1950s standards. All this was achieved before he left school, at which point he embarked on his first full-time employment as an odd job boy for a silk screen printer close to his home.

After only a few weeks with this company he heard of a vacancy for a messenger boy at Rank Screen Services and was taken on at the princely sum of 3 pounds ten shillings per week, dedicating himself to the task of obtaining a transfer to the studios. However, after a year elapsed without any sign of his move, he left to join a company in Wardour Street, Soho, known as TV Advertising Ltd. This was a period when he, like many of his peers, was bitten by the skiffle bug which was then sweeping Britain. His first great idol was Lonnie Donegan , who inspired him to form his first group with colleagues from work. They called themselves "The Worried Men" after one of their most popular numbers, "Worried Man Blues". According to Nelhams, they played all the local Soho expresso coffee bars--Mars, The Cat's Whiskers, Orlando's, The Skiffle Cellar and, of course, the famous Two Is, where they eventually became resident. Nelhams was becoming exhausted, which was not surprising in view of his extra-curricular activities.

He had been promoted to assistant cutter at TV Advertising and not only did he combine evening performances with his day job, but he also decided to take managerial responsibility for the group's affairs. Jack Good 's Six-Five Special (1957) TV program had a reputation for originality. One idea was to broadcast a show direct from the Two Is. Naturally, as the resident band, The Worried Men opened and closed the program--valuable exposure and, ultimately, Nelham's first big break. Good was impressed with Nelhams' performance but not necessarily with the group as a whole. He invited Nelhams back on the show as a solo singer, convinced of his potential as Britain's answer to James Dean . Nelhams, encouraged by this optimism, gave up his job as a film cutter and turned professional. Good not only secured him a recording contract with EMI's HMV label on the strength of the TV appearance, but also helped him choose the now familiar name Adam Faith. Faith's debut disc combined "(Got a) Heartsick Feeling" with "Brother Heartache & Sister Tears", and was released in January 1958.

It received very little publicity, either in the form of music press coverage or from EMI's own advertising department. Not surprisingly, it failed to make any impression on the charts. Despite all Good's confidence in him, Faith also failed to make any immediate impression on television, but Good gave him another opportunity when he booked him to appear in his stage show version of "Six Five Special" (The John Barry Seven were also on the bill and this brief first meeting with composer John Barry was later to prove of vital importance). However, the stage show wasn't the success Good envisaged, and after just four performances Faith found himself out of work. Faith, ever the survivor, swallowed his pride and made the painful decision to abandon his show-biz career by returning to the film cutting world. Despite this, HMV released his second single in December of the same year, a cover of Jerry Lee Lewis ' "High School Confidential", backed with "Country Music Holiday" Apart from scant attention in the music press, mainly to the effect that he was covering a Jerry Lee song, it attracted no publicity whatsoever. After a couple of temporary jobs back in the business, he found a job as a cutter at National Studios at Elstree.

It was while he was there he received a phone call from John Barry in March of 1959, inviting him to audition for Drumbeat (1959). This new program was an attempt by BBC Television to counter ATV's popular Oh Boy! (1958) show. After sufficiently impressing producer Stewart Morris , Faith landed an initial contract for three shows, which was later extended to the full 22-week run. Fortune once again smiled on Faith when Barry introduced him to his own manager, the redoubtable Eve Taylor . Taylor, whose father was a show-business impresario of some renown, was steeped in the tradition and was herself part of a comedy and tap-dancing act during the 1930s. Since becoming an agent she had established a reputation for never accepting anything less than the best for her clients, and many an errant theater manager had experienced the lash of her biting tongue! She readily agreed to take him on, and immediately set about changing his image and appearance, securing him another recording contract, initially with Top Rank.

His only record for them ("Ah, Poor Little Baby" / "Runk Bunk") was released on June 6, with only the former side benefiting from an arrangement and accompaniment by John Barry. Both sides, incidentally, were produced by Tony Hatch , just prior to his appointment as A&R manager at Pye/Piccadilly Records. Unfortunately, this record also failed to attract the attention of pop pundits, but on this occasion Faith was clearly hindered by a total absence of publicity caused by the release date--unluckily coinciding with a national printing strike! Despite the failure of his first three records, Faith was becoming very well known and popular through his 'Drumbeat" appearances. Acting still had a hold on him, and in August he announced his intention to take drama and elocution classes in order to enhance his acting potential. It was about halfway through the "Drumbeat" series when Faith attracted the attention of film producer George Willoughby , who was searching for a young pop singer to appear in his new film, Wild for Kicks (1960), then in pre-production.

Although Faith had little record success up 'til then, Willoughby was struck by the young man's stage presence and signed him on the strength of this. The script called for Faith to sing only a couple of songs. As Barry was by then arranging not only Faith's recordings but also his live "Drumbeat" material, it came as no surprise when the film company asked him to write the score to accompany Faith's big-screen debut--Barry's own very first steps into the world of film music composing. Faith's success on "Drumbeat" enabled Eve Taylor to secure him another recording contract, this time with Parlophone. The quest for suitable material to launch the Parlophone debut began in earnest and was eventually resolved out of a friendship built up on "Drumbeat". A study of the "Drumbeat" scripts reveal how Faith had initially concentrated on singing a large proportion of cover versions; the majority, up-tempo slices of American rock 'n' roll. A significant turning point ensued when he asked to perform his own version of the current Cliff Richard hit "Living Doll".

It became apparent to Barry that Faith's vocal delivery was more attractive in a gentler mode and, as a result of this discovery, he decided to concentrate on delivering this kind of material. Nevertheless, before this first Parlophone single was issued, Faith made his label debut on the live "Drumbeat" album, recorded on May 10 at Abbey Road Studios, London, and released two months later. On this LP, the rock 'n' roll influence remained. Faith sang three numbers--"Say Mama", "C'mon Everybody" and "Believe What You Say", all accompanied by John Barry. The "Drumbeat" LP also showcased the performing talents of one Johnny Worth , a member of Jackie and The Raindrops vocal trio, better known as Johnny Worth (also known as Les Vandyke). Worth was to become the final piece in the Parlophone backroom jigsaw that catapulted Faith from contender to champion in the pop market place. Worth, born in Battersea, London, on June 21, 1931, began working as a draughtsman prior to his compulsory two-year hitch in the army.

On returning to civvy life he was determined to stay out of office work and make his name as a singer. Like many singers, he also aspired towards song writing, although his first three attempts were rejected out of hand by music publishers. However, when Faith, striking up a friendship with him on the "Drumbeat" set, asked if he had any material suitable for recording, Worth approached JB7 pianist Les Reed to help him arrange a demo of one of these initial songs, "What Do You Want?". Barry has always been credited with the idea of using pizzicato strings (inspired by Buddy Holly 's "It Doesn't Matter Anymore") but according to Worth, this was entirely his own brainchild. Because he was still under contract to Oriole, Worth felt the need to adopt a pseudonym while writing songs, and so was born Les Vandyke. This was derived by combining Reed's own first name with Worth's London telephone exchange! Barry was impressed enough with the demo to commence working on an arrangement for the song, using that same Buddy Holly-influenced pizzicato style.

According to Faith, the singing style he adopted for this now legendary recording was based on coaching he received from Roy Young, another "Drumbeat" cast member. Having heard Faith rehearsing it during a shared car journey, Young made a number of suggestions, in particular persuading him to alter his pronunciation of "baby" to "bay-beh". "What Do You Want?" (b/w "From Now Until Forever") was recorded at Abbey Road Studios on September 25, 1959, a mere month after "Drumbeat" ended. At the same time Faith was also signed to appear in an episode of Rediffusion's No Hiding Place (1959) TV series. Norman Newell , Faith and Barry's A&R manager, was unable to produce the recording session. As a result, assistant John Burgess took the helm in his absence, and was to do so for the remainder of Faith's EMI career. According to Barry, on hearing the record, Newell publicly declared his disapproval, vowing that Barry would on no account ever be allowed to take part in any more sessions! After the recording Barry admitted that both he and Faith were despondent following previous commercial failures.

This time they were determined to impose their own personal tastes far more emphatically than they had done previously, when the flavor of the day tended to override aesthetic considerations. Despite favorable reviews of "What Do You Want?", on its October 24 release date in both The New Musical Express and Disc, manager Eve Taylor still insisted that Faith's future lay in acting. Keith Fordyce, writing in the former, praised Barry's arrangement and choice of instrumentation --Jack Good, columnist in its rival, applauded the production, tipping chart success on both sides of the Atlantic. EMI, perhaps scenting success, mounted a strong advertising campaign promoting the single far more vigorously than either of Faith's first two HMV releases. In the following issue of "Disc", Eve Taylor, recognizing good copy when she saw it, claimed Faith had definitely made his last record to concentrate on acting, citing his appearance in a 90-minute drama for Rediffusion TV at the end of year as evidence. Despite this, "What Do You Want?" was given a considerable boost when it was played and voted a unanimous hit on BBC TV's Juke Box Jury (1959), and when Faith sang it live on an edition of ATV's "Boy Meets Girl".

On November 14 the first tangible sign of chart recognition was apparent when The Record Mirror's "British Only" chart listed "What Do You Want?" as a new entry at #9. Clearly, interest was growing, to a point when it entered the NME charts at #18 the following week. Adam Faith, singer, had clearly arrived. His mentor, Jack Good, while applauding his success, claimed his acting actually improved his singing. He also mentioned that the song was initially rejected by Johnny Kidd , although Worth denied this, maintaining that he had refused permission for Kidd to use it when the singer had wanted to give it a rock 'n' roll treatment. Another surprise arrived with the revelation that the orchestral backing consisted of just four strings, with two tenor saxes suggesting the sound of a cello. By December Faith was #1 in the NME charts. He confessed to being terrified of becoming just another overnight sensation and was therefore determined to continue to develop his acting skills by way of special training at the Royal Court Theatre.

He admitted to enjoying Frank Sinatra , Peter Gunn (1958), Jean Sibelius ' "1st Symphony" and playing golf--tastes considered rather esoteric and sophisticated for a typical teenager of the period! At this stage he still lived at home in Acton with his parents, an older sister, a twin brother & sister, another brother having already married and left the roost. Any one-hit wonder will tell you of the problems associated with finding an equally memorable follow-up. Not surprisingly, the Faith management decided to rely on the Worth / Barry team for inspiration, and this proved a wise move. At the recording session John Burgess again took charge of production, since Norman Newell was afraid of upsetting a winning formula. On January 15 "Poor Me" was released with "WDYW" still at #2 on the charts! Faith had finished recording his "Beat Girl" songs just three days previously and had signed to appear in another film - "Moment Of Truth".

The following day he received a silver disc for "What Do You Want", awarded for sales of 250,000, and appeared on BBC Radio's "Saturday Club", following this with a guest appearance on the Beverley Sisters' TV show on January 25, where he sang "Poor Me". This song, another originally rejected by several music publishers in its original incarnation as "Poor Man", shot to #1 on the UK charts. After the success of "Poor Me", Faith--the "reluctant" pop-singer--revealed how much he wanted to sustain his chart success. His new film, now retitled Never Let Go (1960), commenced shooting on February 22, starring Peter Sellers and Richard Todd . With his newly acquired wealth generated from two #1 singles, Faith announced his plan to buy a new car, a new house for his parents and to invest the rest (a significant move in light of his subsequent financial success).

Although his next record, "Big Time" / "Someone Else's Baby", released on April 8 while "Poor Me" was still at #15 on the charts, just failed to become his third consecutive #1 (it was beaten by The Everly Brothers ' "Cathy's Clown"), during the next few years Faith went on to score many more hits. His albums were successful, too. "Beat Girl", for example, issued at a time when the film had yet to surface in the cinema, attracted excellent reviews and reached the top ten in the UK album charts. Though this was in the main a John Barry instrumental album, three songs were sung by Faith and this fact alone could only have enhanced sales. One of these songs, "The Beat Girl Song", written by Barry and Trevor Peacock , failed to appear in the film itself. December brought two more significant events in the ever-changing world of Adam Faith. First he bought a Hampton Court house for 6000 pounds, where he moved with the rest of his family from the Acton council house. Second, he was invited and agreed to appear on BBC TV's controversial yet prestigious Face to Face (1959)--a major coup for Faith.

Transmitted live on December 11, Faith surprised many a viewer by dint of his resolution and alertness in the face of some tough questioning from presenter John Freeman . Faith's third film, the comedy What a Whopper (1961), premiered during the summer, although the title song was not considered strong enough for single release. Instead, he chose a song from the film, entitled "The Time Has Come". written--as usual--by Johnny Worth. This reached #4 on the charts and fared better than the film, which opened at the Rialto, London, on September 28 to a terrible pasting from the press. In March of 1962 Faith undertook an 11-day nature cure at a Surrey rest home. He had not stopped touring and recording for eight months and was completely fatigued. At the Surrey retreat he read the script for his next film project, Mix Me a Person (1962), which was due to start filming immediately after this short period of recuperation. August dawned with good reviews for the film, which opened in London.

This, his fourth picture, was a thriller in which his character (Harry Jukes) spent a great deal of time behind bars. He did manage to sing a couple of songs, however, en route: the title song and a version of "La Bamba". One of the biggest news items in the music industry that autumn stemmed from the surprise decision from the Barry and Faith camp to sever musical links--a purely amicable arrangement designed to enable both parties to develop alternative projects. Barry explained the motives behind this move more fully in an interview with Record Mirror's Peter Jones: "In the early days Johnny Worth, Adam and I were concentrating on one thing, Adam's records. We were after bread. We were all starting in the business and we were all ambitious. But towards one end only. We were all in the same boat but eventually you reach a climax in all that channeled activity. I'd say it is impossible for three people to stick together permanently in this way. You are bound to develop into different adult channels. We wanted financial gains. When you've got those, you can relax and choose your work. It's a matter of sitting back and considering precisely what you want to do in your career.

Do you want to be tied by the boundaries of pop music? Do you want to include all kinds of music? Or all art forms? As an artist, a musician, you can learn something from all forms . . . From literature, films and comedy. So no, it wasn't a surprise I left. But you might say it was a surprise I stayed so long." Initially the hits continued almost unabated, first with Johnny Keating taking over as arranger and accompanying Faith with his orchestra, and then accompanied by a new group, The Roulettes . Faith flew to Australia in October with John Leyton for an 18-day tour that also encompassed New Zealand and Hong Kong, returning to his new home in Esher, Surrey, a "manor-type" house set in an acre of landscaped garden. The house itself included a ground floor-billiards room and a blue-carpeted bedroom housing a white, silk-covered king-sized bed--with an adjoining wardroom. What's more, he employed a butler, maid, gardener and valet! How times had changed from those childhood days in Acton. However, the hits eventually began to dry up.

In 1967 his biggest "hit" was his marriage to former dancer Jackie Irving. Quite possibly his biggest commercial coup was in persuading Sandie Shaw to perform and record "Puppet On A String", a decision she was later to regret. Not only did it become the winner of the Eurovision Song Contest, but it also reached #1 in the UK and in many other European countries. Faith convinced her it was in her best interests to sing it, after she had fallen out with their mutual manager over its merits as a song. Her gratitude to Faith for his advice was somewhat tempered, however, when Taylor revealed much later that he had a financial interest in her and the song's publishers! Clearly Faith's aptitude for spotting an investment opportunity had not diminished. Adam Faith released his last single for EMI in 1968, "You Make My Life Worthwhile". Arranged and conducted by Ken Woodman, it was an excellent recording that deserved a better fate than it got, but with Faith opting to make his stage debut playing Feste in William Shakespeare 's "Twelfth Night", he was in no position to promote it.

In view of this, both he and EMI decided to part company; Faith, the actor, was consigning Faith, the pop star, to the annals of music history. Faith's success on stage and screen was hardly unexpected, given his thirst for knowledge and capacity for hard work. He decided to learn stagecraft from first principles in repertory theatre, out of which a number of small parts initially emanated. This stood him in good stead, when he was given a more substantial role in "Night Must Fall", playing opposite Dame Sybil Thorndike . In effect, this amounted to his big break; his stage equivalent of appearing on "Drumbeat"! In autumn of 1969 he took the lead in a touring version of "Billy Liar", and 18 months later found renewed television fame in the title role of Budgie (1971).

Apart from one comeback album for Warner Bros in 1974 (borne, one suspects, out of a desire to celebrate in song his full recovery from a near-fatal car crash a year earlier) and an original cast recording he made of the musical version of "Budgie" in 1988, Faith concentrated almost solely on acting and went a considerable way to achieving his ambition expressed so lucidly back in 1959, prior to his 19th birthday. During the 1970s he impressed both moviegoers and critics alike with convincing performances in Stardust (1974), Foxes (1980) and McVicar (1980), and also found time to immerse himself in the management side of the rock industry. Budding agent and song-writer Dave Courtney (who Faith knew as a result of his association with The Roulettes) introduced him to former busker Leo Sayer .

Instantly impressed by Sayer's vocal prowess and songwriting ability, Faith immediately set out a strategy for launching his protégée, and as a direct spin-off, also produced a solo album for The Who 's Roger Daltrey , which contained a selection of Sayer/Courtney songs. The 1980s saw Faith once again reinvent himself in the public eye, this time in the form of a self-appointed financial guru; he even wrote a column for "The Mail On Sunday", aptly titled "Faith In The City", which epitomized the "get-rich-quick" philosophy espoused in that Margaret Thatcher -drenched decade. It ended on something of a sour note when he was prevented from issuing a free fact sheet that promised to make its recipients millionaires! This was also a period when Faith was often heard to be scathing about his own recording legacy, holding it chiefly responsible for scuppering his attempts at securing a lasting acting career. As guest at a dinner party where his old hits were being played, he was chastised by the host for criticizing them so harshly, for rubbishing the very music he had enjoyed as a youth.

Faith was rather taken aback by this accusation and was forced to re-appraise his feelings for his pop career. Judging from subsequent comments made in the media, he has clearly done so. On the eve of the release of a brand-new album, "Midnight Postcards" (released in November '93), he told "The Daily Mail" that he was no longer dismissive about his pop star roots and saw no incongruency in combining an acting with a singing career. "I retired from singing 20 years ago so I could be an actor. I had begun to hate my pop association because I so wanted to act. In those days you couldn't really do both. Now I realize that the two things I do best are singing and acting. I'm only sorry that it has taken me so long to combine the two." On stage for some years he performed the title role in "Alfie" around the provinces, played the narrator in "A Chorus Line" and toured the UK in "Love & Marriage".

Often in demand for television, following his initial success with "Budgie", in the 1990s he starred in the highly successful BBC TV drama Love Hurts (1992), with Zoë Wanamaker ; and in 2002 made the less popular The House That Jack Built (2002), also for the BBC. He had a heart bypass operation in the mid-'80s, but had enjoyed reasonable health from then onwards. However, the failure of his cable TV channel, The Money Channel, a couple of years ago resulted in his bankruptcy, and may have taken a toll on his health. He was planning a one-man stage performance tour of Britain the next year, in which he would act out his career, including some of the songs that launched it. He died at the age of 62 from a heart attack, a few hours after finishing a performance of "Love & Marriage".

(1967 - 8 March 2003) (his death) (1 child) Trivia (10) British pop singer In the mid-1980s, he starred with Anita Dobson in a musical stage version of "Budgie", music by Mort Shuman , lyrics by Don Black . In the 1980s, during a severe decline in his career, he became a financial advisor and journalist, but still continued to perform. Former messenger for the Rank Screen Studios. Was a top British teen idol in the pre- The Beatles 1960s era, along with Cliff Richard and Billy Fury . Suffered multiple injuries in a serious car crash in which he nearly lost a leg; it had to be rebuilt. Adam Faith Biography Adam Faith Biography Adam Faith (June 23, 1940 - March 8, 2003) was a British singer and actor. He was born Terence (Terry) Nelhams-Wright in Acton in West London. He was unaware that his real surname was Nelhams-Wright until he applied for a passport and obtained his birth certificate.

He was known as Terry Nelhams in his early life. Adam Faith was one of Britain's early pop stars. His first hit, "What Do You Want", came in 1959, and with subsequent songs like "Poor Me" "Don't that Beat All" and "Someone Else's Baby" he established himself as a serious rival to Cliff Richard in British pop music. His style and looks were in complete contrast to Cliff's, offering a real alternative for the teenage market. Like most contemporary pop singers, he did not write his own material, and much of his early success was attributable to his partnership with John Barry. Faith's brand of sometimes rather twee pop ("Lonely Pup (In a Christmas Shop)") became less popular through the 1960s in the face of competition from groups like the Beatles, and he began an alternative career as an actor. While still a musician he had appeared in films such as Beat Girl (1961), but now he concentrated on acting in the theatre. In the 1970s he went into music management, managing Leo Sayer among others.

He appeared in the 1970s television series Budgie, about an ex-convict, but after a car accident as a result of which he almost lost a leg, his career suffered something of a decline. It restarted in 1975 when he landed a major role as the manipulative manager of rock star David Essex in the film Stardust. In the early 1990s, Faith had another hit TV series in Love Hurts with Zoe Wanamaker. In the 1980s Adam Faith's interests moved from show business to finance and he became a financial investments advisor. In 1986 he was hired as a financial journalist, by the Daily Mail and its sister paper the Mail on Sunday. He also had an involvement with the television Money Channel. But the channel proved to be an unsuccessful venture and closed down in 2001. Adam Faith was declared bankrupt owing a reported ï¿½32m. He had had heart problems since 1986 when he underwent open heart surgery.

He became ill after his stage performance in Stoke on Trent on the Friday evening and died in hospital of a heart attack early on Saturday morning, March 8, 2003. Michael Caine, (born Maurice Micklewhite) said that his mother worked with Adam's mother in their early days, but because each, of course, referred to her son by his real name, they never made the connection to each other's already well-known offspring. A new book reveals the life of singer Adam Faith | Life | Life & Style | Daily Express LIFE You've got to have faith: New book reveals the two sides of legendary singer THE singer treated his personal life like his performing one - as a part to be played, a new book reveals 09:08, Sat, Apr 18, 2015 | UPDATED: 17:40, Mon, Apr 27, 2015 GETTY Adam Faith was always popular with women Just before Christmas 1957 Terry Nelhams had a haircut. For a long time Terry had Jwanted hair like the film star James Dean.

To go with his cool new look, and upon the urging of TV producer Jack Good, he also got himself a new name. The creation of Adam Faith had begun. "Adam Faith became Terry Nelhams's alter ego, his brand, his business - a business that would do him well for the rest of his life," writes his biographer David Stafford. But the relationship between Terry and Adam would never be easy. "From time to time Adam threatened Terry's equilibrium, rocked his security and drove him to bankruptcy but Terry let him because like most other people he was utterly entranced by Adam Faith." Even so Nelhams, the son of a lorry driver, never quite got used to being Adam Faith international superstar and saw his alter ego as having something of an independent existence. "Being Adam is like playing a part in a film," he once said. "On the whole I prefer it." Faith, who died suddenly in 2003 at the age of 62 while lamenting that there was nothing to watch on television, was never much of a singer but he had hits. He had his shortcomings as an actor but he had film, TV and stage credits that were the envy of most actors.

His understanding of finance was never more than superficial but he advised the rich and famous and wrote business columns in national newspapers. He left school without O-levels but gave a convincing impression of an intellectual. The beautiful boy who had grown up in a council house in Acton, West London, had an unprecedented run of seven consecutive top five hits before reinventing himself, first as an actor, then a manager (he was Leo Sayer's Svengali and managed his international rise to stardom), then as a businessman. At one point he even hankered to become editor of the Daily Express. And the new biography reveals that Faith did this by making up for any gap in his talent or knowledge with charm, cheek and unassailable selfconfidence. "No lad ever lived who more deserved the prefix 'Jack The'," says Stafford of his childlike subject. Faith's qualities of drive, ambition and self-possession were inherited from his formidable mother Nell, an office cleaner. He struggled to feel any close link with his unambitious father and for a time believed he was the illegitimate product of an affair between his mother and a Canadian GI.

Related articles Nik Kershaw is another blast from the past He survived a horrendous car crash in the 1970s, a terrifying helicopter crash in the following decade and nearly drowned in a scuba diving accident after that. "He was a risk taker and his last gamble was the digital TV 24-hour Money Channel which collapsed with millions he had invested," says his friend Keith Altham. He was supported by his long-suffering wife of 36 years Jackie Irving who had once been Cliff Richard's girlfriend. Despite his often widely publicised infidelities and the occasional temporary split, she managed to hold the marriage together until the end. That end was less than glorious, in a hotel room with his 23-year-old girlfriend and leaving a trail of debts behind for his wife and daughter Katya. When I have lived down being a pop singer I would like to became an MP Adam Faith Terry might have doubted himself but Adam Faith was always popular with women. While on stage in the early 1960s he would communicate the seat numbers of girls he fancied to his team who would then invite the potential conquest backstage to "say hello" in his dressing room.

"It was the most wonderful introduction to promiscuity a 19-year-old ever had," Faith said. "I was at the centre of 2,000 screaming girls every night." He called this "carnal mileage" and admitted he was hooked on it although in other respects had a clean living lifestyle, rarely drank and never took drugs. "When I have lived down being a pop singer I would like to became an MP," he explained in 1965 after touring South Africa where he spoke out about apartheid. Two years later he was advised to maintain complete silence for two months by a throat specialist and promptly proposed to Jackie using sign language. They were married in 1967 at the height of his fame starring in the TV series Budgie. It was in 1973 that Faith's car hit a tree in West Sussex after he fell asleep at the wheel having spent the evening with a girlfriend. He ruptured his spleen, perforated his bladder, split his shin, crushed his ankle, broke his arm and all but one of his ribs on his left side, dislodged the lining of his abdomen and smashed his face. It took eight hours for surgeons to put him back together.

He claimed the accident served as a "reminder I'm still alive". His friends said it just made the hedonist even more selfish. "He was always reckless but it made him more self-centred," says songwriter and record producer David Courtney. "It would make a lot of people more aware of their vulnerability but not him." REX Adam Faith with wife Jackie, right, and daughter Katya, left Faith's childlike inability to appreciate that other people had lives too and his ability to cast off a friend with barely a backward glance intensified. His friend Andrew Tribe used to say to him: "Have you ever been diagnosed with autism? Because that's what you are." Leo Sayer regarded Faith, who had a control freak's attention to detail when plotting his international career, with something approaching awe. "My relationship with Adam was very intense, almost like a love affair," Sayer once explained. "Short of sleeping with him, I would have done anything to be with him." It was Faith who put Sayer in a Pierrot outfit for his first appearance on Top Of The Pops. When asked why Adam explained: "It's simple. I was a good-looking boy who couldn't sing.

Leo was the opposite." In the summer of 1980 Adam decided he needed a helicopter. He booked a course of lessons and crashed on his first solo flight. "It was later discovered that he had neglected most of the emergency drills and safety procedures," says Stafford. "As he had proved too often in the past, if he wasn't pitting his wits against some fresh challenge he didn't feel alive." While Faith loved to live like a multi-millionaire, even when there wasn't enough money to support his aspirations, he also loved to be around women. REX Adam Faith alongside Jackie in 1970 "I've never seen a man have such an effect on women - with one exception: George Best," says Keith Altham. "They threw themselves at him." The most serious of all his affairs was with the tennis star Chris Evert-Lloyd. They socialised publicly as a couple but the crunch came the day she called him at home. "Jackie went ballistic," says Stafford. "A line had been crossed.

Adam was instructed to go to the end of the drive, phone Chris on his mobile and tell her never to call the home number again." It was the perfect example of the collision between Adam Faith and Terry Nelhams. "Adam wasn't real," says the writer Laurence Marks. "He knew this and therefore believed as a consequence that he, Adam, could very much do what he liked, including commit adultery. "Jackie knew what was going on but reasoned that as long as it was Adam that was doing it, it didn't impinge on her life. She was married to Terry and Terry lived at home, very happily. "I went round there many times and there wasn't one sign of Adam Faith in their home at all - no posters, no gold discs - nothing. It was the home of Terry and Jackie. And nothing Adam did came into that home until Adam's affair with Chris. "You only had to spend a few hours with Adam to know he was a child. He hadn't grown up.

And I don't think Terry liked Adam." • To order Big Time: The Life Of .Time: The Life Of Adam Faith by David and Caroline Stafford (Omnibus Press, £19.95), please call the Express Bookshop on 01872 562310. Alternatively send a cheque or postal order made payable to Express Bookshop to: Adam Faith Offer, PO Box 200, Falmouth TR11 4WJ or visit expressbookshop.com Most read in Life

Question: By what name did Tery Nelhams become well known
Answer: Adam Faith